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Gonsalez, Marcos. „In Defense of the Effete Superhero: Theorizing the First Queer Latinx Superhero, Extraño/Gregorio de la Vega“. Inks: The Journal of the Comics Studies Society 8, Nr. 1 (März 2024): 1–25. http://dx.doi.org/10.1353/ink.2024.a927234.
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ABSTRACT: Debuting in the 1987 eight-issue miniseries Millennium , Extraño/Gregorio de la Vega lays claim to being the first gay superhero in superhero comic history. He is also one of the first queer Latinx superheroes to be depicted in the genre. This article examines the mediations and transformations of Extraño/Gregorio de la Vega’s character across the late twentieth and early twenty-first centuries, analyzing how his disruptive queer effete superheroics runs counter to representational agendas that seek to fix or erase gender transgression and nonnormative sexualities in superhero comics. In order to do so, this article proposes a critical reading practice called superheroic minorness. By looking to one-shot issues, double-page team spreads, back covers, letters to the editors, and splash pages, this article examines how his superheroic minorness entails sleuthing across a constellation of details, minutiae, and arrangements in order to compose a comprehensive sketch of an otherwise undervalued or underexamined character who, nonetheless, helps articulate repressed, negated, and/or erased aesthetic-political possibilities. Reading for superheroic minorness is a conceptual strategy for theorizing the importance of the effete superhero and the interpretive frameworks the effete opens up for interrogating the majoritarian sphere and minoritized representation in comics, superhero aesthetics, and popular culture. Rather than situating the minorness or stereotyping of Extraño/Gregorio de la Vega as a lack or a problem for critical inquiry, this essay positions it as a means of revaluing and imagining the effete superhero, the abject, peripheral queer Latinx character who overloads straightforward notions of respectability, assimilation, and conformity.
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Saptanto, Deswandito Dwi, und Maya Kurnia Dewi. „Gundala and Gatotkaca in the concept of modern Indonesian superheroes: Comparative analysis of the Indonesian and American superheroes“. EduLite: Journal of English Education, Literature and Culture 5, Nr. 1 (29.02.2020): 136. http://dx.doi.org/10.30659/e.5.1.136-147.
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The superhero universe has always been an attraction in the world of film industry. The birth of superhuman ideas has made people increasingly interested in taking the storyline. This research is a literature study on the existence of a new world in Indonesian cinema that takes the theme of Indonesia's superhero universe competes against the universe of American superheroes. The purpose of this study is to compare Indonesian and American superhero films in order to understand the complete concept of depicting Indonesian superheroes in the process of switching from comics to films comparing with the same concepts in American superheroes. This study employed a descriptive qualitative method by comparing films from the Indonesian superhero universe namely Bumilangit Cinematic Universe and Jagad Satria Dewa Cinematic Universe compared to the American superhero universe namely Marvel Cinematic Universe and DC Cinematic Universe. The results obtained that there were some similarities in the process of character formation in each of the heroes that were created, this could be described with similarity in multiple personalities before and after becoming superheroes, costumes worn, storylines and special effects produced in the film. There were fundamental differences that were seen in the background of Indonesian culture that was different from the concept of American culture. Indonesian superheroes also highlighted Pencak Silat as the original identity and characteristics of Indonesia. This research concluded that a story with a superhero concept had the same story pattern such as a person with a superhero alter ego and deep with heroic storyline even though they were presented by different countries.
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Hatchell, Rusty. „‘We prefer protégé’: The temporal function of sidekicks in Young Justice and Titans“. Australasian Journal of Popular Culture 12, Nr. 1 (01.06.2023): 83–97. http://dx.doi.org/10.1386/ajpc_00070_1.
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Over the past four decades, since the transition of Robin into the Nightwing superhero persona in DC’s Tales of the Teen Titans #44 (July 1984), sidekick characters have become increasingly relevant in their narrative function for DC’s overall superhero storytelling and world-building strategies. By examining the comic book and television narratives across Teen Titans and Young Justice titles, this article argues for a critical examination in how sidekicks mature into independent superheroes and how this impacts the broader storytelling paradigm for DC and their related media. The animated Young Justice and live-action Titans series highlight the progression in a sidekick’s temporal function, guiding not only their own maturation into independent superheroes but also the overall evolution of the superhero storytelling genre, allowing the passage of time, the inevitable death of the superhero and the renaissance of the sidekick-turned-superhero.
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Miettinen, Mervi. „Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity“. PS: Political Science & Politics 47, Nr. 01 (29.12.2013): 104–7. http://dx.doi.org/10.1017/s1049096513001686.
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Watchmen(1987), written by Alan Moore and illustrated by Dave Gibbons, is a 12-part graphic novel that portrays real-life superheroes in a fictional United States of the 1980s. An alternate universe where ordinary people without superpowers were inspired by superhero comics and took on the crime-fighting in tights in the 1940s, the comic portrays an America vastly different from our reality. Since its publication more than two decades ago, the comic has been the subject of extensive study due to its breathtaking narrative structure as well as its acute deconstruction of the superhero genre itself. Indeed, one of the text's most brutal deconstructions comes from the way it addresses superheroic masculinity, from the misogynistic vigilante Rorschach to the emasculated ex-hero Nite Owl. Through its cast of male heroes,Watchmendeconstructs the superhero genre by rewriting masculine tropes such as vigilantism and patriotism and by exposing the inherent contradictions within these gender-bound tropes from the fascist undercurrents of violent patriotism to the often-hinted sexual dysfunction of the costume-fetish variety.
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Geraffo, Monica. „No tights, no flights: Constructing the wardrobe of television superheroes“. Film, Fashion & Consumption 10, Nr. 1 (01.04.2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.
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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
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Zamani, Muhammad Fathan, Abi Ihsanullah und Badri Badri. „KARAKTER ANTI-HERO SEBAGAI COUNTER-HEGEMONI SUPERHERO DALAM FILM DEADPOOL: ANALISIS COUNTER-HEGEMONI ANTONIO GRAMSCI“. Jurnal CULTURE (Culture, Language, and Literature Review) 8, Nr. 2 (01.11.2021): 112–31. http://dx.doi.org/10.53873/culture.v8i2.264.
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Myth is an essential part in superhero roles. In modern superhero acts, a character may possess more than one myth. Thus, this portrayal is an ideal power to create supremacy. An author, even a director could employ the newly-created myth to overcome hegemonic power. As stated in Gramsci, there is an instrument to control, even surpass ideology. In the Deadpool 1 & 2 movie, the myth of superheroes is interpreted as the instrument of hegemony. The aims of this study are to find out what kind of superhero hegemony that will be countered in the Deadpool movie, what are the counter hegemony element in the Deadpool movie, and how are the Deadpool’s effort and his preparations doing ideological battle against the superhero existence. This research uses hegemony and counter-hegemony theory according to Antonio Gramsci. This research applies descriptive qualitative method. The findings are Deadpool’s act of violence and his merc-with-mouth assuming his role as an anti-hero. However, Deadpool finally encountered the existing myth of superheroes ideologically. Unexpectedly, Deadpool offers a solution to the existing hegemony.
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Nangimah, Musrifatun. „The cultural repertoire of recontextualized superhero in the Avengers sequels“. EduLite: Journal of English Education, Literature and Culture 6, Nr. 2 (31.08.2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.
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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Flores, Emil. „The Concept of the Superhero in Filipino Films“. Plaridel 2, Nr. 2 (01.08.2005): 23–38. http://dx.doi.org/10.52518/2005.2.2-02eflrs.
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This essay examines a number of Filipino superhero films (Captain Barbell, Darna and Lastikman) and how a uniquely American creation was “Filipinized,” taking into account the cultural and social aspects of the Pinoy superhero as demonstrated in the films. For the first time in Filipino film history, three superhero films were included in the 2003 Metro Manila Film Festival. While the producers were most likely following the popular trend in Hollywood, the films Fantastic Man, Captain Barbell, and Gagamboy, still reflect the Filipino longing for a hero to look up to. All films were big box-office hits. Just as 9/11 gave rise to the popularity of fantasy and superhero films in Hollywood, societal ills and the 2004 elections have fanned the flames of fantasy heroics in Filipino commercial films. While the American heroes (e.g. Captain Marvel, Superman, and Wonder Woman) have heavily influenced the Filipino superheroes, several aspects of Filipino culture and society are still evident in the films. It is also noteworthy that the comic book industry that created the superheroes is now experiencing a severe drop in popularity. Thus, film is now the medium that showcases the superheroes. The movie versions of these heroes have a history in film that is almost as long as the comic book versions, and modern audiences are more familiar with the movies than the comics.
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Betzalel, Nurit, und Zipora Shechtman. „The impact of bibliotherapy superheroes on youth who experience parental absence“. School Psychology International 38, Nr. 5 (25.09.2017): 473–90. http://dx.doi.org/10.1177/0143034317719943.
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As one key element of establishing a superhero persona, many superhero myths are based on the principle of experiencing parental loss at an early age. This study examined the impact of group bibliotherapy using superhero stories with children and adolescents who have experienced parental absence. The 187 participants who resided in foster care were divided into three experimental conditions: Bibliotherapy with superhero stories, bibliotherapy without superheroes, and no treatment. Four dependent variables were tested in a pre–post–follow-up design: Anxiety, violent behavior, aggression, and future orientations. Results indicated that the strongest desired outcomes were obtained in the superhero treatment condition: There were significant positive changes on all four dependent variables, with changes sustained at follow-up. In the other treatment condition, significant changes were observed on only two variables and were not sustained at follow-up. No significant changes were observed in the non-treatment group. On the future orientations scale, only children in the superhero condition indicated change: They gained in future goals and had reduced fantasies about home. In general, results support the effectiveness of bibliotherapy with children and clearly point to the unique contribution of bibliotherapy content tailored to children's specific needs.
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Kurniawan, Rendya Adi. „KEMUNCULAN KOMIK ADIPAHLAWAN INDONESIA DAN FAKTOR YANG MEMPENGARUHINYA“. Texture:Art and Culture Journal 2, Nr. 1 (02.09.2019): 29–39. http://dx.doi.org/10.33153/texture.v2i1.2628.
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ABSTRACTComic is a visual product that is quite popular in Indonesia. The popularity of comics in Indonesia cannot be separated from the development of comics in the West. One effect felt was the emergence of comics with the superhero genre. However, superheroes in the West and adipahlwan in Indonesia are the result of a dynamism of very different creative processes. Superheroes emerged in the West as a new form of mythology for their people, while the Indonesian adpahlawan emerged precisely by exploring the values of classical mythology that had long existed in Indonesia. These traditional values are explored to be used as basic ideas for the design of a super hero character in Indonesia. This research tries to apply the visual methodology of Gillian Rose to examine how this super hero emerged as a comic genre in Indonesia and what factors influence it.Keyword : Comics, Superhero, Character Design, Mithology, Visual MethodologyABSTRAKKomik merupakan suatu bacaan yang cukup popular di Indonesia. Kepopuleran komik di Indonesia tidak bisa dilepaskan dengan perkembangan komik di Barat. Salah satu pengaruh yang dirasakan adalah munculnya komik dengan genre superhero. Namun begitu, superhero di Barat dan adipahlwan di Indonesia merupakan hasil dari suatu dinamika proses kreatif yang sangat berbeda. Superhero muncul di Barat sebagai suatu bentuk mitologi baru bagi masyarakatnya, sedangkan adipahlawan Indonesia muncul justru dengan menggali nilai-nilai mitologi klasik yang sudah lama ada di Indonesia. Nilai-nilai tradisi tersebut digali untuk dijadikan gagasan dasar perancangan desain karakter adipahlawan di Indonesia. Penelitian ini mencoba mengaplikasikan metodologi visual dari Gillian Rose untuk mengkaji bagaimana adipahlawan ini muncul menjadi genre komik di Indonesia dan faktor apa saja yang mempengaruhinya. Keyword : Komik, Superhero, Desain Karakter, Mitologi, Metodologi Visual
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Żaglewski, Tomasz. „The Universe-al Storytelling. Towards A ‘Spatial’ Narrative Model in Modern Comic Book Cinema“. Panoptikum, Nr. 26 (19.10.2021): 169–88. http://dx.doi.org/10.26881/pan.2021.26.08.
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The aim of the article is to analyze modern superhero films through the specifics of superhero narratives in comics. By referring to the ‘organic’ elements of graphic super-storytelling – like retcon or crossover – the author tries to explain the main shift within comic book adaptations heading towards a ‘universe-al’ mode of narration. By doing so the analysis concentrates on the most succesful recent cases of superhero films as attempts to achieve a narrative ‘remediation’ of comic books’ spatial organization that requires reconsideration of the status of an individual superheroic franchise (or sub-franchise) within the larger universe of pre-existing, future and even alternate texts.
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Burt, Stephanie. „How to Write About Superheroes“. American Literary History 32, Nr. 3 (2020): 598–608. http://dx.doi.org/10.1093/alh/ajaa018.
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Abstract Eighty years after the first Superman comic, scholars are catching up to the importance, and to the popularity, of superheroes in comics and in other media. Recent monographs and edited collections examine racial politics, disabilities, other identities, and reception history across a range of decades and of superhero characters. Most of these worthy works remain within the limits of critique, judging the comics on how well they handle one or another theme; the result is a picture of superhero comics that cannot do justice to the genre. To them and to their like, the academic critics of the future might add—what vernacular comics critics already contribute—additional attention to what one or another character does best, to the transformative potential of even minor superhero work, and to how commercially produced superhero comics at their best handle narrative form. One superhero symbol can work many ways, as Neal Curtis’s examination of Truth and other Captain America stories shows: Cap has repeatedly fought off right-wing doubles, alternatively costumed versions of himself who aspired to make America white again.
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Peppard, Anna F. „“I just want to feel something different”“. Feminist Media Histories 4, Nr. 3 (2018): 157–78. http://dx.doi.org/10.1525/fmh.2018.4.3.157.
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The last several decades have witnessed the publication of many revisionist and self-critical superhero comics, yet the most critically discussed of these focus on the straight white male characters who have always dominated the genre. In contrast, the ongoing series Alias (2001–4) stars Jessica Jones, a superhero turned private investigator who is empowered by a radioactive accident yet disempowered by her gender within a male-dominated superhero community that both excludes women and actively abuses them. This article argues that Alias redresses the superhero genre's marginalization and victimization of female characters by emphasizing Jessica's complex subjectivity and implicating male superheroes in her multifaceted abuse. It also considers Jessica's translation into more traditional comics series, wherein she becomes sidelined as a wife and stay-at-home mother; these series prove the difficulty of maintaining progressive politics within genres where the visual and narrative conventions are so steeped in gender stereotypes.
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Żaglewski, Tomasz. „Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films“. Panoptikum, Nr. 22 (17.12.2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.
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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic booky’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.
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MacKendrick, Kenneth. „What is a Superhero?“ Bulletin for the Study of Religion 44, Nr. 1 (07.04.2015): 19–25. http://dx.doi.org/10.1558/bsor.v44i1.26860.
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The essay argues that Marvel's Civil War is an interesting narrative concerning the superhero metacode at work. After a brief overview of the crossover event, its allegorical qualities will be discussed followed by a supplemental reading focusing on how superheroes, as agents of pretend play, come to be socialized, coded, and distributed across shared social networks.
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Avery, Cathrine. „Paternalism, performative masculinity and the post-9/11 cowboy in Christopher Nolan’s Dark Knight trilogy“. Australasian Journal of Popular Culture 12, Nr. 1 (01.06.2023): 65–81. http://dx.doi.org/10.1386/ajpc_00069_1.
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The superhero as a masculine ideal has been extensively scrutinized; he is perceived as a man of physical strength, selflessness and conformity but also one capable of aggression, toxic violence, vigilantism and emotional detachment. Nolan’s superhero, Batman, is situated within this discourse of contradictory masculinity. Recent scholarly discussion has considered how superheroes, including Batman, portray a masculinity designed to fulfil the desires of a post-9/11 audience. This article will extend this examination of contradictory masculinity to consider the father figures who teach Batman to be a superhero and what their instruction identifies as desirable heroic traits in the decade following the 9/11 tragedy. This form of heroic masculinity is not new and exhibits an uncanny resemblance to the cowboy who, like the superhero, is a stylized, uniquely American character. This article will argue that this is a masculinity that is learned and then performed: it reveals the imitative nature of gender, such that Nolan’s trilogy acts as a series of lessons in the problematic, fictive and performative expressions of masculinity in a post-9/11 world.
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Valentová, Kateřina. „Representation and Agency of Aging Superheroes in Popular Culture and Contemporary Society“. Societies 11, Nr. 1 (08.03.2021): 18. http://dx.doi.org/10.3390/soc11010018.
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The figure of the superhero has always been regarded as an iconic representative of American society. Since the birth of the first superhero, it has been shaped by the most important historical, political, and social events, which were echoed in different comic issues. In principle, in the superhero genre, there has never been a place for aging superheroes, for they stand as a symbol of power and protection for the nation. Indeed, their mythical portrayal of young and strong broad-chested men with superpowers cannot be shattered showing them fragile or disabled. The aim of this article is to delve into the complex paradigm of the passage of time in comics and to analyze one of the most famous superheroes of all times, Superman, in terms of his archetypical representation across time. From the perspective of cultural and literary gerontology, the different issues of Action Comics will be examined, as well as an alternative graphic novel Kingdom Come (2008) by Mark Waid and Alex Ross, where Superman appears as an aged man. Although it breaks the standards of the genre, in the end it does not succeed to challenge the many stereotypes embedded in society in regard to aging, associated with physical, cognitive, and emotional decline. Furthermore, this article will show how a symbolic use of the monomythical representation of a superhero may penetrate into other cultural expressions to instill a more positive and realistic portrayal of aging.
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De Wulf Helskens, Maxine, Frederik Dhaenens und Sarah Van Leuven. „Superheroines and superstereotypes?“ DiGeSt - Journal of Diversity and Gender Studies 8, Nr. 1 (17.05.2021): 91–105. http://dx.doi.org/10.21825/digest.v8i1.17163.
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Since the new millennium, there has been a remarkable increase in audio-visual adaptations of superhero comic books (Garcia-Escriva, 2018). Whereas these adaptations used to include predominantly male superheroes, they have started to feature more female superheroes (Curtis & Cardo, 2018). An increase, however, does not imply diverse and rounded representations, since women in superhero movies tend to be depicted in stereotypical and sexualized ways (Kaplan, Miller & Rauch, 2016). Even though previous research has addressed the films and series' politics of gender representation, there is a need for research that looks at televised female superheroes from a queer postfeminist and intersectional lens. Therefore, this study conducted a textual analysis, informed by queer postfeminist and intersectional theory, to explore how leading female superheroes in the Arrowverse series Arrow and Supergirl are represented. We concluded that female superheroes who assume a central role in the series are represented in a rather empowered manner, but that there are still improvements possible with regard to the representation of race and sexuality.
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Markova, Maria V. „PARTICULARITY OF THE TRANSFORMATION OF THE SUPERHERO COMICS IN THE RUSSIAN CULTURAL SPACE: BY THE EXAMPLE BUBBLE COMICS“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 9 (2021): 87–99. http://dx.doi.org/10.28995/2686-7249-2021-9-87-99.
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The modern Russian comics industry is mostly author’s comics. At the same time, first of all, comics are associated with superhero stories, whose appearance on the screens of cinemas became the starting point for many people to recognize the original source – the comic. In Russia, a mass commercial comic strip is presented by the publishing house BUBBLE Comics. Its slogan from the first issue was: “The country must know its superheroes”. The article examines the forms and methods of transformation of the characteristic features of superhero comics in Russian comics published by BUBBLE Comics. BUBBLE Comics strives not to copy the narrative strategies of American publishers, but to adapt them for the Russian reader. BUBBLE publishers partly use the superhero theme, adopting the idea of a single universe and heroes who are engaged not so much in saving the world as in helping people. Unlike traditional solo superheroes, BUBBLE Comics’ heroes are surrounded by people who share their mission and are more of a team. Such comics not only construct a new fictional world, but also to a certain extent reflect the socio-cultural reality that is close to the understanding of the Russian reader.
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Costello, Matthew J., und Kent Worcester. „The Politics of the Superhero“. PS: Political Science & Politics 47, Nr. 01 (29.12.2013): 85–89. http://dx.doi.org/10.1017/s1049096513001625.
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This symposium explores the relationship of superheroes to questions of power, ideology, social relations, and political culture. It represents the first time that a political science journal has devoted sustained attention to the superhero genre as it is reflected in the pages of comic books and graphic novels, and on the big screen.
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Clerkin, Frances. „'Superheroes know where they are going': views from children's cultural worlds“. Boolean: Snapshots of Doctoral Research at University College Cork, Nr. 2012 (01.01.2012): 6–9. http://dx.doi.org/10.33178/boolean.2012.2.
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Eileen asks 'why does Liam need a compass?', an item which Liam proudly produces from his backpack and displays at morning 'show and tell'. Liam often leads play episodes and is frequently an instigator of 'superhero' type play in pre-school. My response is 'he probably needs it for his superhero game'. Eileen's exasperated reply is 'superheroes know where they are going'. On quick reflection I agree that 'yes, that sounds likely.' In her initial statement, Eileen reveals not only that she knows the purpose of a compass but also that she expects a more considered and believable answer from a 'knowing other.' In Eileen's social and cultural experiences, my being adult confers just such a status. Clearly disappointed with my response she herself assumes an 'expert' role. Eileen reflects a shared understanding of culturally embedded assumptions associated with fictional Superhero characters. She also conveys a sophisticated awareness of the 'rules' ...
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Andersen, Tem Frank. „Browsing the Origins of Comic Book Superheroes: Exploring WatchMojo.com as producers of video channel content“. Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, Nr. 1 (22.11.2017): 45–62. http://dx.doi.org/10.7146/ntik.v6i1.98956.
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This article tries to explore and explain the significance of comic book superheroes and their origin stories. The article presents an analysis of two selected case examples from the social video sharing site WatchMojo.com. The analysis focuses on four aspects or themes: Comic book hermeneutics, types of origin, subjectivization of superheroes, and user reactions. These analytical themes are based on an approach combining cultural semiotics, comic book superhero studies, studies in participatory culture, cultural studies and media user studies. The analysis provide some evidence to the claim, that superhero origin stories are of significance because its content is relevant to a dedicated number of internet users, and the video content both calls for and creates user reactions. Furthermore this interplay enacts the practice of categorizing and revitalizing as two important mechanisms vital for understanding this particular Internet video content.
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Rungta, Archi. „Superhero“. Cancer Research, Statistics, and Treatment 5, Nr. 1 (2022): 84. http://dx.doi.org/10.4103/crst.crst_16_22.
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Permatasari, Riana, und Destary Praptawati. „Manifestation of Persona Dealing with Misogyny as Reflected in Qahera the Superhero“. Jurnal Lingua Idea 13, Nr. 1 (30.06.2022): 25. http://dx.doi.org/10.20884/1.jli.2022.13.1.5351.
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Nowadays, there are a growing number of Muslim woman superheroes in literature; one of them is a webcomic entitled Qahera the Superhero. Qahera is portrayed as a veiled Eqyptian woman superhero dealing with misogyny throughout the story. This study is a qualitative study aimed at finding the manifestation of persona as reflected in Qahera and its relation to misogyny. In collecting the data, there were three steps taken, including reading the webcomic, identifying the data, and classifying the data in a table consisting of the data, the page/part of the comics, the references supported the data, and the analysis. The collected data were analyzed using the theory about persona by Carl Jung as the underlying theory in this study. Based on the research, there are two points concluded. First, the outward manifestation of persona in Qahera is a woman superhero wearing a hijab who is strong and brave. Second, her persona is built to fulfill society's expectations on how a woman should wear and protect women from misogyny in her community. She fights against misogyny by challenging the negative stereotypes about Muslim women, combating sexual harassment, and not supporting misogyny in various forms, including in arts. In short, Qahera built her persona to protect Muslim women and showed the persona manifestation of how a woman superhero can challenge the negative stereotypes of Muslim women without neglecting Islamic values inside her.
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Setyanto, Daniar Wikan, und Bernardus Andang Prasetya Adiwibawa. „MEMBACA WARNA PADA KARAKTER SUPERHERO MARVEL“. Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) 3, Nr. 02 (28.09.2018): 256. http://dx.doi.org/10.25124/demandia.v3i02.1551.
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Saat ini tema superhero sedang menjadi trend film-film Hollywood, secara khusus superhero dari buku komik Marvel. Masyarakat dari segala usia antusias menantikan kehadiran karakter superhero itu dalam film, terbukti bahwa setiap film bertema superhero selalu menjadi box office. Beberapa elemen penting yang menarik dari karakter superhero adalah perawakan fisik, wajah, kekuatan, kostum, dan warna. Warna merupakan salah satu elemen penting dalam karakter superhero karena superhero diidentifikasi dari warna yang melekat pada kostum dan tubuh mereka. Dalam konteks perancangan karakter superhero selain berfungsi estetis, penggunaan warna juga berfungsi untuk mengkomunikasikan sesuatu karena mengandung makna dan filosofi tersembunyi yang memperkuat karakter yang memakainya. Kaitan antara warna dan arti yang tersirat yang ingin dikomunikasikan menjadi titik tolak penelitian ini. Penelitian ini akan mengungkap bagaimana pendefinisian warna, proses semiosis serta efek psikologis warna pada aplikasi kostum superhero. Metode pendekatan yang digunakan adalah deskriptif kualitatif dengan analisis semiotika Roland Barthes. Unit penelitian dalam hal ini adalah karakter superhero komik Marvel.
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Yang, Yaozu. „The Influence of the Style of Superhero Film Series on Its Development --- Taking the Batman Series as an Example“. Communications in Humanities Research 5, Nr. 1 (14.09.2023): 90–94. http://dx.doi.org/10.54254/2753-7064/5/20230084.
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Superhero-themed films have exploded in popularity in the film business in the year 2023. Superheroes are the primary subject of American comic books and the protagonists of fantasy works. Many comic book heroes have been adapted for the big screen, and different characters require varying degrees of adaptation of their source material in order to be presented to the public on the big screen. In the process of adaptation, the decision to adapt their style impacts the tone and direction of the film, as well as the plot. This research will examine the relationship between the style of each film in the Batman series, box office performance, and word-of-mouth to determine the effect of the style of different superhero films on their own evolution.
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Martin, Justin. „Medijske pripovijedi o superherojima kao potencijalni kontekst za istraživanje dječjega razumijevanja moralno relevantnih događaja“. Libri et liberi 12, Nr. 1 (01.09.2023): 11–35. http://dx.doi.org/10.21066/carcl.libri.12.1.1.
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Currently, superhero films are one of the more popular film genres, and the genre does not appear to be slowing down anytime soon. In addition, the lives and exploits of superheroes are told through other forms of media such as animated films and television series targeted towards children. However, these narratives are also violent. If older children (i.e., approximately 7–11) engage with superhero media, then it is important to understand the ways they attempt to make sense of this genre. To this end, the essay examines how superhero media may serve as a potential context for older children’s understanding of morally relevant events. This potential—based on three broad areas of scholarship on children’s capacities for understanding others and their morally relevant acts—is explored along two dimensions. The first is through common narrative features of the genre, and the second is through research implications. It is suggested that a research program utilizing the genre’s narrative features as a part of a methodology to investigate older children’s understanding of morally relevant acts affords unique opportunities to build upon existing scholarship on the relationship between media content and children’s moral understanding.
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Boucher, Ian. „Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975‐1979 Television Series1“. Popular Culture Review 29, Nr. 2 (Juni 2018): 151–91. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00237.x.
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ABSTRACTLive‐action superhero films currently play a significant role at the box office, which means they also play a significant role in culture's understandings about justice. For the most part, however, superhero films are dominated by philosophies based in irrational fears and stereotypes, perpetuating an antiquated concept of justice that contributes detrimentally to societies around the world. Wonder Woman enriches the pantheon of superheroes by representing restorative justice, which is part of a more comprehensive approach to crime‐fighting, in which mediators work with victims and offenders to try and overcome the roots of crimes and heal communities. This philosophy is merely one among many that could have a place in America's considerations about justice, but it has not developed the same cultural awareness as the capture or murder of the majority of superheroes. This is partially because before 2017, the only time Wonder Woman was in the live‐action spotlight was her 1975‐1979 television series. Despite Wonder Woman's publication in comic books since 1941, a commonly accepted sentiment is that her brand of justice is difficult for a superhero format. However, Wonder Woman's perceived difficulty has largely been the result of society's desire to suppress her over the course of her existence. From 1975‐1979, the Wonder Woman live‐action television series, also known as The New Original Wonder Woman and The New Adventures of Wonder Woman, gave the character's philosophy every reason to take off in the popular consciousness. An analysis of the series reveals a key stylistic link in the development of superhero adaptations between the Batman 1966‐1968 television show and the 1978 Superman film that faithfully and clearly adapted Wonder Woman's philosophy into a mainstream 1970's television format. The series was suppressed, undone, and discredited, with the potential role of Wonder Woman as a figure of justice obscured by her sex, her gender, her feminism, and a perceived threat of sexuality, as part of Wonder Woman's larger impeded legacy in America's embedded culture of misogyny.
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Hidayatullah, Danial. „HOMER SIMPSON: PROTOTIPE SUPERHERO BARU AMERIKA“. Adabiyyāt: Jurnal Bahasa dan Sastra 8, Nr. 1 (31.07.2009): 171. http://dx.doi.org/10.14421/ajbs.2009.08109.
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Hollywood films as one of America’s prominent industries that influence world’s popular culture can be seen as a cultural discourse. Movie as a popular literature conveys it message in its own unique ways. Myth is one of its messages. This study tries to reconstruct the myth of popular American superhero through an interesting new movie: The Simpsons. How the new type of hero is manifested is analyzed in this study to find out the continuities or changes in American’s collective dreams so that the new American perspective over heroic mythologies can be understood. Basically this study analyzes as well the possibilities of the meanings conveyed by the media. Textual analysis is conducted to understand not only the meanings of the myth of the superhero perceived by the audience but also the American characters inside the myth. The Simpsons seems to offer a new type of hero’s myth, which is very distinct from the previous type of popular superheroes as in Batman, Superman, or Spiderman.
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Spanakos, Anthony Peter. „Hell's Kitchen's Prolonged Crisis and Would-be Sovereigns: Daredevil, Hobbes, and Schmitt“. PS: Political Science & Politics 47, Nr. 01 (29.12.2013): 94–97. http://dx.doi.org/10.1017/s1049096513001698.
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Comic book heroes often have their origins innoirdepictions of failed or failing states. The danger involved and the seeming anarchy that necessitates superheroes recall Hobbes's description of a state of nature and Leviathan as resolution. But comic book heroes generally inhabit states that are better identified by the Hobbes-inspired Carl Schmitt. Indeed, this articles argues that while the Hell's Kitchen ofDaredevilcomics has some characteristics of a state of nature, it is better characterized by the protracted crisis of state that Schmitt sees in liberal democracies. Hobbes and Schmitt elucidate the crisis that generates the need for a superhero but fail to explain why the superhero does not simply take over the city. This is better explained by American concepts of heroism which emphasize redemption and walking away from power (Lawrence and Jewett 2002).
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Martin, Justin F. „Harlem's Superhero: Social Interaction, Heterogeneity of Thought, and the Superhero Mission in Marvel's Luke Cage“. Popular Culture Review 34, Nr. 2 (Dezember 2023): 43–89. http://dx.doi.org/10.1002/j.2831-865x.2023.tb00798.x.
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ABSTRACTThe essay extends previous Luke Cage scholarship by analyzing him through a discipline rarely utilized in superhero scholarship: developmental psychology. Using the Luke Cage television series, the author centers Luke Cage's relationship to Harlem. In doing so, the author explores how the relationship can elucidate both the conceptual foundations of morally‐relevant decision‐making and the ways these concepts may be applied in varied and complex social interactions–features of social life relevant to everyday persons as well as superheroes working within a fictionalized neighborhood.
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Dutta, Mohua, und Sayan Chattopadhyay. „Midnight's Children as a Superhero Novel: Contesting the Politics of Superheroes and Supervillains“. Storyworlds: A Journal of Narrative Studies 12, Nr. 1-2 (Juni 2020): 79–103. http://dx.doi.org/10.1353/stw.2020.a902752.
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Abstract: This article reads Salman Rushdie's Midnight's Children through the lens of superhero comics in which the protagonist would appear to be the supervillain while the antagonist would emerge to be the real superhero. By foregrounding this inversion, Rushdie is defying as well as critiquing the underlying ideological underpinnings and the political assumptions that inform the genre. The superhero comics and its relation with the United States provides the theoretical framework, and the state of emergency imposed in India by Indira Gandhi from 1975 to 1977 provides the conceptual framework, within which this article has been situated.
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Drislane, Liam. „The pretense of prosthesis“. Science Fiction Film & Television 15, Nr. 2 (01.06.2022): 169–91. http://dx.doi.org/10.3828/sfftv.2022.14.
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Drawing on David Mitchell and Sharon Snyder’s concept of narrative prosthesis and Kathryn Allan’s Disability in Science Fiction, this article examines the role of the prosthesis in Marvel Cinematic Universe (MCU), arguing that the cyborg limbs of prosthecized superheroes enable narratives of identity, rebirth, degeneration, and transcendence, serving as overdetermined - yet open - signifiers while also remaining stubbornly material in their techno-capitalist cycle of production, obsolescence, destruction, and endless upgrading. Specifically, the paper interprets the MCU’s use of the superheroic prosthesis as an attempt to reach closure regarding the threat to the ideology of ability posed by the figure of the disabled superhero, an attempt that inevitably ends in failure that results in the graphic destruction and eventual replacement of the prosthesis. Analysis of the prosthesis in the MCU reveals a seemingly inevitable cycle in which the superheroic prosthesis acts as a lightning rod for this failure of resolution, with its destruction serving as both the titillation and vicarious horror that often accompanies depictions of disablement as well as a plot device through which narrative tension is generated as the disabled character must be re-prosthecized to begin the cycle anew.
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Stoyanova, Greta, und Tanya Srebreva. „MY SUPERHERO“. Education and Technologies Journal 10, Nr. 2 (01.08.2019): 310–12. http://dx.doi.org/10.26883/2010.192.1822.
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Mariani, Giorgio. „Emerson’s Superhero“. Review of International American Studies 13, Nr. 1 (16.08.2020): 27–51. http://dx.doi.org/10.31261/rias.7771.
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After offering some preliminary remarks on the notion of what makes a “captive mind,” the article shifts its attention to one of the most significant and yet relatively neglected early essays by Ralph Waldo Emerson, the essay “War.” This text, I argue, deserves not only to be considered the (largely forgotten) founding document of the American anti-war movement, but it remains important even today, as it sheds light on the inevitable contradictions and double-binds any serious movement against war and for social justice must face. It is a text, in other words, which helps us highlight some of the problems we run into—both conceptually and practically—when we try to free our minds from a given mindset, but we must still rely on a world that is pretty much the outcome of the ideologies, customs, and traditions we wish to transcend. To imagine a world free of violence and war is the age-old problem of how to change the world and make it “new” when the practical and intellectual instruments we have are all steeped in the old world we want to abolish. Emerson’s thinking provides a basis to unpack the aporias of what, historically speaking, the antiwar movement has been, both inside and outside the US. The article concludes by examining some recent collections of US pacifist and anti-war writings, as providing useful examples of the challenges antiwar, and more generally protest movements, must face.
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Lynas, Kathie. „Pharmacist superhero“. Canadian Pharmacists Journal 141, Nr. 5 (September 2008): 261. http://dx.doi.org/10.3821/1913-701x(2008)141[261a:ps]2.0.co;2.
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Wilson, Larry. „Pharmacist Superhero“. Canadian Pharmacists Journal / Revue des Pharmaciens du Canada 141, Nr. 6 (November 2008): 314. http://dx.doi.org/10.3821/1913-701x-141.6.314.b.
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Morabito, Valerio. „Landscape Superhero“. Studies in the History of Gardens & Designed Landscapes 31, Nr. 3 (September 2011): 228–29. http://dx.doi.org/10.1080/14601176.2011.561525.
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Clarke, Jenni. „Superhero supporters“. Early Years Educator 16, Nr. 7 (02.11.2014): v—vii. http://dx.doi.org/10.12968/eyed.2014.16.7.v.
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Harney, Michael. „Amadís, Superhero“. La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 40, Nr. 2 (2012): 291–318. http://dx.doi.org/10.1353/cor.2012.0019.
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Viney, Christopher. „Steamed superhero?“ Materials Today 7, Nr. 7-8 (Juli 2004): 64. http://dx.doi.org/10.1016/s1369-7021(04)00370-0.
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Yoshikawa, Mako. „Chess Superhero“. Missouri Review 45, Nr. 3 (September 2022): 104–19. http://dx.doi.org/10.1353/mis.2022.0039.
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Buck-Pavlick, Helen. „The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego“. Journal of Dance & Somatic Practices 12, Nr. 2 (01.12.2020): 267–87. http://dx.doi.org/10.1386/jdsp_00028_1.
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In this article, the author shares their processes and reflections from a somatic and pedagogical research project conducted at a Title I middle school in Tempe, Arizona. The project, ‘The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego’ explores the duality, perceived dualism and duel-ism of the embodied middle school experience through the lens of superheroes and alter-egos. The research served several purposes: (1) exploration into how to communicate Laban Movement Analysis and Bartenieff Fundamentals along with key somatic concepts, such as self-awareness, self-control and autonomy to early adolescent learners in a way that is accessible and relatable, (2) facilitating an embodied understanding of the dualism between personal inner and outer identities, expressivity, attitudes and tendencies, with the aim of helping early adolescent students improve navigation of the challenging contexts they encounter (such as conflicting self and social identities, vulnerabilities, insider/outsider feelings, body image, self-confidence and the desire to be both unique and to fit in), (3) providing an opportunity for adolescent students to explore perceptions of inner and outer identities and the duel between these identities as carried within their own bodies and (4) creating an opportunity for students to collaboratively generate choreography. The dance classroom community chosen for this project had prior experience in dance within the school’s existing programme, specific learning challenges and opportunities for somatic knowledge development. Preliminary research and classroom observations unveiled thematic concepts (such as body image issues, low self-confidence and conflicting perceptions of self-identity) which informed teaching strategies, curriculum and subject matter. The framework of the curriculum considered critical theories of development, somatic practice, philosophy and collaborative inquiry. Questions that inspired the research included: how do early adolescent students construct understanding of their individual identities and experiences in a meaningful somatic way? How do we create lessons that integrate somatic exploration, social emotional learning and choreographic practice into early adolescent dance class? What is it about the adolescent experience that makes superheroes so compelling? What do superheroes tell us about ourselves?
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Ramadhan, Ilham, Arianis Chan und Pratami Wulan Tresna. „Pengaruh Etnosentrisme Konsumen terhadap Minat Beli Serial Film Superhero Bumilangit Cinematic Universe“. Jurnal Bisnis dan Kewirausahaan 16, Nr. 3 (28.11.2020): 243–54. http://dx.doi.org/10.31940/jbk.v16i3.2086.
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Kemudahan distribusi film superhero impor di pasar nasional membuat film superhero domestik menjadi terancam. Hal ini diperlihatkan dengan jumlah penonton yang relatif rendah pada film superhero domestik dibandingkan dengan film superhero impor, sehingga penelitian ini memiliki tujuan untuk mengetahui pengaruh etnosentrisme konsumen terhadap minat beli seri seri film superhero dalam negeri. Penelitian ini dilakukan terhadap 115 pengguna TIX ID di Kota Bandung dengan menggunakan metode purpossive sampling. Hipotesis diuji dengan menggunakan regresi linier sederhana melalui program statistical program for social science (SPSS). Hasil penelitian memperlihatkan bahwa konsumen di Indonesia memiliki etnosentrisme yang tinggi. Tingginya etnosentrisme konsumen tersebut dibangun oleh lima konstruksi, yaitu prosociality, cognition, insecurity, reflexiveness, dan habituation. Pada penelitian ini memperlihatkan bahwa konsumen memiliki minat beli yang tinggi terhadap Bumilangit Cinematic Universe. Hasil perhitungan juga menjelaskan bahwa etnosentrisme konsumen memiliki pengaruh positif signifikan terhadap minat beli serial film superhero domestik. Hal ini memberikan implikasi terhadap keputusan pembelian konsumen dalam menonton serial film domestik yang menyebabkan tingginya jumlah penonton yang diperoleh Bumilangit Cinematic Universe sehingga mampu bersaing dengan film superhero impor di pasar film nasional.
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Kurniawan, Rendya Adi. „KEBUDAYAAN LOKAL DALAM KOMIK SUPERHERO INDONESIA“. INVENSI 2, Nr. 1 (19.12.2017): 9–15. http://dx.doi.org/10.24821/invensi.v2i1.1803.
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Komik merupakan suatu bacaan yang populer di Indonesia. Terdapat beragam genre komik yang dapat kita nikmati. Mulai komik dalam genre wayang, silat, roman remaja sampai komik dengan genre superhero. Komik superhero Indonesia sendiri sudah mulai berkembang, hingga saat ini komik superhero Indonesia menjadi populer di masyarakat. Beberapa diantaranya adalah Sri Asih karya Kosasih, Gundala karya Hasmi, hingga yang terbaru adalah Volt karya Marcelino Lefrant. Terlepas dari nama-nama besar komikus pada eranya, kini komikus-komikus muda mulai bermunculan. Berbagai genre pun kembali dimunculkan. Namun tetap yang menonjol adalah genre superhero. Namun dibalik banyaknya bentuk komik superhero yang tak bisa diragukan lagi, sangat terpengaruh oleh gaya Barat dan Jepang, terdapat satu kesamaan yang coba diangkat oleh komikus-komikus muda ini, yaitu kebudayaan lokal. Penelitian ini akan mencoba mengaplikasikan metodologi visual dari Gillian Rose untuk melihat hubungan antara kebudayaan lokal dengan komik superhero Indonesia.
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Limano, Ferric. „Perkembangan film superhero indonesia studi terhadap alat konseptual sinematografi (studi kasus film gundala)“. GESTALT 4, Nr. 2 (08.11.2022): 19–28. http://dx.doi.org/10.33005/gestalt.v4i2.124.
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Film Indonesia yang diproduksi lokal memiliki perkembangan yang signifikan, didasari oleh perkembangan bioskop lokal yang dapat memudahkan penonton mengakses film layar lebar. Selain itu media online juga menjadi sarana yang sangat memudahkan penonton dapat menjangkau karya film lokal. Salah satu tema film yang menarik penonton adalah tema superhero. Dibandingkan film superhero Hollywood, bagaimana posisi film superhero Indonesia. Penelitian ini akan melihat perkembangan film superhero Indonesia dalam studi terhadap sinematografi. Metode penelitian yang digunakan secara kualitatif dengan menggunakan studi kasus film Gundala tahun 1981 dan 2019. Data film akan dilakukan studi terhadap alat konseptual sinematografi dengan observasi perbandingan, sehingga dapat diketahui perkembangan film superhero Indonesia.
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Nury, Mekka Syed. „PENGARUH TOKOH SUPERVILLAIN DALAM FILM SUPERHERO“. LAYAR: Jurnal Ilmiah Seni Media Rekam 9, Nr. 1 (02.02.2023): 29. http://dx.doi.org/10.26742/layar.v9i1.2413.
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ABSTRACT
Superhero movie is a film that tells the story of a superhero fight against crime. In the story of his struggle, the superhero character often passes many obstacles for his purpose to stop the ambition of the villain in creating chaos in the world. Analysis of supervillain characters in this paper based on the theory of causality, where in the description, the author tries to compare the results that occur if the character supervillain successfully carry out his ambition with the result that occurs if the supervillain character fails to carry out his ambition, The results of the study can also illustrate how the influence of the supervillain character in the superhero film. There are many criminals that we know from superhero movies. Many also memorable figures such as The Joker, or Loki. Among the many superhero characters, there are some figures who have an interesting ambition, where the ambition will make us curious if the ambition of the villain is achieved. Will that ambition bring life in this world for the better, or even worse.
ABSTRAK
Film superhero adalah film yang mengisahkan perjuangan seorang pahlawan super melawan kejahatan. Dalam kisah perjuangannya, sang tokoh superhero kerap melewati banyak rintangan demi tujuannya untuk menghentikan ambisi sang penjahat dalam menciptakan kekacauan di dunia. Analisis karakter supervillain yang ada di dalam tulisan ini berdasarkan teori kausalitas, dimana di dalam paparannya, penulis mencoba membandingkan akibat yang terjadi jika sang tokoh supervillain berhasil melaksanakan ambisinya dengan akibat yang terjadi jika sang tokoh supervillain gagal melaksanakan ambisinya. Hasil dari teori tersebut juga dapat menggambarkan bagaimana pengaruh sang tokoh supervillain di dalam film superhero. Ada banyak tokoh penjahat yang kita kenal dari film-film superhero. Banyak juga tokoh memorable seperti The Joker, atau Loki. Di antara banyaknya tokoh superhero, ada beberapa tokoh yang memiliki ambisi yang menarik, dimana ambisi tersebut akan membuat penasaran jika seandainya ambisi sang penjahat tersebut tercapai. Akankah ambisi itu membawa kehidupan di dunia ini menjadi lebih baik, atau sebaliknya.
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Johansson, Juha, und Markku S. Hannula. „Third Graders' Perceptions on Moral Behaviour on Bullying If They Had the Infinite Powers of Superhero Defenders“. Education Research International 2012 (2012): 1–15. http://dx.doi.org/10.1155/2012/258181.
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Bullying is a serious moral concern affecting the victim's welfare and achievement in school. Lately, research on bullying phenomenon has led to successful procedures in which passive bystanders are asked to become defenders of the victims of bullying. This case study explores children's perceptions on moral behaviour on bullying and, moreover, what type of moral voice they would express if they had the infinite powers and means of superhero defenders. Children created masks, posters, and flags for ideal superheroes and described their personalities. In addition, they drew comic strips about the skills they wish to teach new hero students in superhero school. The results indicate that children's moral voices can be divided primarily into justice and care. In addition, some expressed also the dark voice of the vigilante. Findings suggest that superheroes offer one tool for educators and children to ponder about the role of defenders for the victims of bullying. The topic focuses on the core of school life, relationships between pupils, and their moral development. Sixteen third grade children (aged 9-10) from a primary school in Finland took part in the study. The results for two of the children are presented in detail as the basis for discussion.
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Grue, Jan. „Ablenationalists Assemble“. Journal of Literary & Cultural Disability Studies: Volume 15, Issue 1 15, Nr. 1 (01.02.2021): 1–17. http://dx.doi.org/10.3828/jlcds.2021.1.
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Superheroes are often disabled, either literally or metaphorically. Their exceptional powers and abilities may be balanced by weakness in order to engender audience sympathy or identification, or to provide a source of narrative obstacles. Although superhero stories are not necessarily about disability, they have become one of the most accessible and popular formats in which disability is a consistently salient trope and integral part of the narrative machinery. The article argues that the use of disability in current superhero narratives, exemplified by the Marvel Cinematic Universe (MCU), is best understood through the theoretical lens of narrative prosthesis and ablenationalism. In the MCU, a core function of disability is to provide heroes with a yearning for normality and a desire to be productive members of a community. The interlinked narratives of the MCU effectively depict many of its protagonists as supercrips, framing disability as intrinsically linked to a heroic struggle to fit in with non-disabled society.
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Dungan, Sophie. „Storying species extinction in Avengers: Infinity War and Avengers: Endgame“. Australasian Journal of Popular Culture 12, Nr. 1 (01.06.2023): 37–48. http://dx.doi.org/10.1386/ajpc_00067_1.
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This article places two Marvel Cinematic Universe (MCU) films, Avengers: Infinity War () and Avengers: Endgame (), in dialogue with the Marvel comic books on which they are based. As this article demonstrates, in their depiction of Thanos and the partial species extinction event, the films deviate substantially from their source material to reflect a contemporary cultural interest and growing anxiety over the real-world threat of species extinction. However, as this article argues, Avengers: Infinity War’s and Avengers: Endgame’s ecocritical potential are limited, owing partly to the villain’s role in superhero films and comic books more broadly. Limits also owe to the anthropocentric viewpoint that underwrites much of superhero fiction. Superheroes may serve a conservative function as an upholder of the social order, but, as this article shows, in Avengers: Infinity War and Avengers: Endgame, as well as films and television series in the MCU set thereafter, this function often comes at the detriment of the conservation of nature and species-other-than-human.